Inner anthropoid coffin (12–13) and mummy-cover (14).
Archaeological Context and Dating
The coffin set was found in the longitudinal gallery of Bab el-Gasus, next to the western wall. The decoration scheme of the set dates places it the late 21st Dynasty. The mummy was not examined by Georges Daressy.
Name and Titles of the Owner
The coffin set remained anonymous.
Bibliography
Daressy 1907, 5. Lieblein 1892, 995. Niwiński 1988, 135–136. Schmidt 1919, 148–149, figs. 758–759.
12 Lid (Figures 157–169)
Inventory number: 3911 (AE 21).
Length: 190 cm.
Wood, paste, paint and varnish.
Some of the motifs of the central section and lower section were rendered in pastiglia.
The reverse side is undecorated.
The fists are carved in wood and attached to the lid.
The object is relatively well preserved, despite a few losses of material, especially on the proper left side, where the arms and the lower section had been affected. A transversal crack is detected in the joint between the footboard and the lower section. This joint is now reinforced with L-shaped iron brackets attached to the wood with iron screws.
Iconography
Headboard
The face is roughly carved, showing unbalanced proportions between the prominent nose and the small chin (Figure 159). The face is unusually painted in red,1 with the thick cosmetic lines outlined in dark blue. The black iris is painted over a yellow background. The nose shows small incisions to suggest nostrils. The lips are outlined in red. A black line is traced along the jaw, but the chin does not show a hole to attach a wooden curled beard. The inexpressive face is not well proportioned.
The ears are roughly moulded in paste and they are quite smaller when compared with the other objects of the lot.
The neck shows two red lines suggesting creases on the throat.
The divine wig shows a striped pattern (dark blue stripes over a yellow background). The headband is missing, but a bunch of lotus flowers and buds falls dawn from the crown of the head. It has an unusual arrangement, displaying seven lotus flowers disposed in two bands.2 The flowers are interspersed with buds or acacia flowers (Figure 160).
The lappets of the wig are decorated with yellow terminals.
Upper Section
The fists are painted in red, crossed over the chest (Figure 159). The fingers are outlined in a darker shade of red. The forearms are completely hidden under the broad collar. The elbows are lost.3
The large collar covers the shoulders and upper torso, displaying 14 floral bands running concentrically, with the epicentre located on the deceased’s chest. A variety of patterns are detected: lotus flowers intertwined with acacia flowers (1st band), checkered motifs (2nd, 4th, 6th, 8th, 11th, 13th and 15th bands), lotus petals intertwined with persea tree buds (3rd, 5th, 9th, 12th and 14th bands), and persea tree buds (7th and 10th bands). The clasps of the collar are not depicted.
Between the lappets of the wig a short collar was featured, showing 13 bands with monochromatic (red or black) or floral bands (mandrake flowers).
A pectoral is shown pending from a beaded necklace grasped by the deceased’s fists (Figure 160). The pectoral is rectangular, showing three red hearts with pending lily flowers.4
Central Section
This composition displays three main registers bounded by columns of inscriptions (Inscriptions 3–4) running along the edge (Figure 161–162).
The first register presents a symmetrical composition with a sacred scarab (pastiglia) at the centre. It holds up the solar disk (pastiglia) and shows the shen-ring between the hind legs. Two iaret-cobras encircle the sun-disk with large tjet-signs (pastiglia) pending from their necks. Over their heads figure label-inscriptions and sun-disks (pastiglia). Columns of hieroglyphs with the signs was, djed, ankh bound this composition.
These nuclear elements are flanked by centrifugal blocks featuring the enthroned Osiris (red-skinned) in mummiform guise, wearing the hedjet-crown and grasping the heka-sceptre. His body (pastiglia) is black, and the cubic throne (pastiglia) is decorated with a striped pattern. A green-skinned goddess stands behind Osiris, embracing him. She is clad in a tight robe (pastiglia), wearing a modius and the monogram of Isis over her head. The register is completed with a centripetal block featuring the same scene (only with Nephthys escorting Osiris). Between the enthroned gods figures the ba-bird resting over a pile of offerings. The area above is filled-in with shetyt-shrines, lily-flowers and label inscriptions referring to Osiris and his titles (ex: “The foremost”). On the proper left side, a column of inscriptions refers: “Osiris, the foremost (…), so that he may give”.
A very exceptional composition follows, showing two friezes composed of interspersed djed and tjet-signs. Between these friezes 10 mummiform gods are displayed around the nuclear motif. They are squatted, facing inwards. From the centre to the periphery, we see a fully human god (pastiglia), a snake-headed god (pastiglia), a baboon-headed deity (pastiglia), a god with an undetermined form, and a snake-headed god. At the centre, figures a divine falcon resting on the totem of the West, holding the nekhakha-sceptre. This motif is the monogram of the goddess featured below. Thus, the mummiform gods must be read as a sub-register of the winged goddess. She is squatted on a reed mat outstretching her wings towards both sides of the panel. The goddess is clad in a tight red dress tied up with a long belt and her arms crossed over the chest. She wears a red headband. Exceptionally, her arms are not displayed along the wings and are crossed over the chest.
The third register presents a symmetrical composition with a sacred scarab at the centre (pastiglia). It holds up the solar disk (pastiglia) and shows the shen-sign between the hind legs. It is flanked by enthroned gods (pastiglia), wearing the hedjet-crown and the royal sceptres. At the gods’ feet, stand lettuce vases. The remaining area presents two sub-registers. Below, figure two ba-birds in adoration surrounded by stars. Above, liminal elements are displayed (vultures, cobras and squatted feathered-headed mummiform gods).
Lower Section
This composition displays three longitudinal partitions bounded by columns of inscriptions painted against a black background (Inscriptions 1–2) and block-friezes running along the edge (Figures 163–164).
The central partition displays three vignettes (Figure 164). The nuclear block of these vignettes is always the same, showing a sacred scarab holding a solar disk and the shen-ring.5 This nuclear composition is flanked by liminal elements centripetally displayed.6
In the first register the centripetal blocks feature a vulture goddess resting on a shetyt-shrine and a neb-basket. The vignette is headed by a symmetrical frieze of iaret-cobras facing outwards.
In the second register the nuclear block is flanked by standing mummiform deities facing inwards, with long belts tied up to their waists, and unguent cones and lotus buds on their heads. The vignette is headed by a frieze with interspersed djed and tjet-signs and a block frieze.
In the third register, the nuclear block is flanked by a vulture goddess resting on a neb-basket and a shetyt-shrine. The vignette is headed by a frieze with interspersed djed and tjet-signs flanked by block friezes. The vignette is bounded by a block frieze and a floral pattern.
Below, the lower section is enclosed by a transversal pet-sign. Two crouching jackals holding nekhakha-sceptres face inwards to the rising sun disk. Three unguent vases at each side flank this composition.
The lateral partitions display three registers bounded by the network of longitudinal (Inscriptions 1–2) and transversal inscriptions (Inscriptions 6–15). The arrangement of the scenes is symmetrical on both sides (Figure 164).
The first register depicts the enthroned Osiris (red-skinned), wearing the hedjet-crown and holding the heka-sceptre. A goddess stands behind (green-skinned) supporting the god with her arm. She wears a red sun disk over her head, and she is clad in a tight dark garment tied up with a long belt. The remaining area shows a vulture resting on mat, a shetyt-shrine and a large ointment vessel (right partition) or lettuce vases (left partition).
The second register displays a similar composition, showing the enthroned Osiris protected by a standing goddess. The vulture goddess, an ointment vessel (right) or reed mats (left) are depicted before the god.
The third register features an enthroned mummiform god. He wears a long wig, with an unguent cone and a lotus blossom. Next to him figures the vulture goddess, baskets and a lettuce vase (left side).
Footboard
This area is decorated with a single scene symmetrically arranged showing two enthroned gods wearing the hedjet-crown (Figures 165–166). Three shetyt-shrines are disposed between them, together with udjat-eyes and stars. Each one of these enthroned gods is protected by a goddess: Isis on the proper right side, Nephthys on the opposite side. On the right edge, the ba-bird rests over a shetyt-shrine and heraldic flowers.
Inscriptions
Two longitudinal inscriptions (Inscriptions 1–2) bound the central partition of the lower section, while two other bands (Inscriptions 3–4) run along the edges of the lid, from the elbows to the beginning of the lower section (Figure 167).7
Transversal bands of text (Inscriptions 5–6) divide the central panel from the lower section, showing a symmetrical arrangement.
Smaller transversal bands (Inscriptions 7–16) bound the vignettes of the lateral partitions. The texts are all aligned with the longitudinal axis of the object.
The calligraphy is badly executed and it is often illegible, a situation which is particularly visible in Inscription 1. The signs are outlined in yellow against a black background.
Inscription 1 (Figure 168)
(?) n mrwt (?) wnnṯ ḫpr tꜣ (?) i҆r [or: ptr?] f i҆mꜣḫ n mrwt (?) di҆di҆.k (?) di҆.f (?)
(?) in order that exists and transforms (?), the venerable one so that (?) you(?) make that he may give them (?).
Inscription 2 (Figure 168)
ḥtp di҆ [nsw] Wsi҆r nb ḫnty ꜣbḏw (?) nṯr ꜥꜣ wnn (?) di҆(.f) ḥtp tꜣfn [or: ꜣtf?] n ni҆wt tꜣ (?) wꜥbt nbt (?)
Offering which (the king) gives to Osiris, the foremost of Abydos (?), great god, Wen-?, so that (he) may give offerings [or: the atef (?)] of the city (?) all things pure (?).
Inscription 3 (Figure 169)
Wsi҆r.k ḫnty mnṯ (ḥtp) nb(t) (?) mrd (?) nṯr ꜥꜣ, wnn-nfr (?) di҆ ḥtp tꜣf
Your (?) Osiris, the foremost of Montu/the west[erners] (?) Mered, the great god, who exists/Wennefer (?) so that he may give offerings (?).
Inscription 4 (Figure 169)
Wsi҆r.k ḫnty mnṯ/i҆mntyw (?) nb ꜣbḏw (?) nṯr ꜥꜣ wnn-nfr (?) di҆ ḥtp tꜣ
Your (?) Osiris, the foremost of the west(erners)(?), great god, Wennefer (?) who (?) give(s) offerings.
Inscription 5 (Figure 169)
ꜥnḫ ḥr Wsi҆r n (sic) ḫnty mr ꜣbḏw (?)
May Horus live, and Osiris, the foremost of Abydos (?)
Inscription 6 (Figure 169)
ꜥnḫ ḥr Wsi҆r n (sic) ḫnty mr ꜣbḏw (?) ….
May Horus live, and Osiris, the foremost of Abydos (?)
Inscription 7 (Figure 169)
i҆mꜣḫy ḫr (…)
The venerable one before (…)
Inscription 8 (Figure 169)
i҆mꜣḫy ḫr (?) ḥḳꜣ.
The venerable one before (?) the sovereign.
Inscription 9 (Figure 169)
i҆mꜣḫy ḫr ꜣḳ (?)
The venerable one before the sovereign (?)
Inscription 10 (Figure 169)
i҆mꜣḫy [ḫr] (?)
The venerable one [before] (?)
Inscription 11 (Figure 169)
i҆mꜣḫy ḫr ḥḳꜣ (?)
The venerable one before the sovereign (?)
Inscription 12 (Figure 169)
i҆mꜣḫy ḫr ḥḳꜣ (?)
The venerable one before the sovereign (?)
Inscription 13 (Figure 169)
i҆mꜣḫy ḫr ḥḳꜣ
The venerable one before the sovereign (?)
Inscription 14 (Figure 169)
i҆mꜣḫy [ḫr]
The venerable one before
Inscription 15 (Figure 169)
i҆mꜣḫy ḫr
The venerable one before
Inscription 16 (Figure 169)
[i҆mꜣḫy ḫr] [ḥḳ]ꜣ
(The venerable one before)
Figures
Figure 159
Anonymous lid. Headboard and upper section
Figure 160
Anonymous lid. Headboard and upper section
13 Box (Figures 170–190)
Inventory number: 3911 (AE 21).
Length: 190 cm.
Wood, paste, and paint.
The exterior decoration is relatively well preserved. The sides are composed of single planks, which greatly contributed for the preservation of the pictorial decoration. The floorboard is composed of several planks, and many fissures are detected along the joints.
The interior decoration is well preserved, but two longitudinal cracks run along the floorboard. The thicknesses are stepped and painted in yellow. Eight mortises were carved along the edge to hold the wooden tenons.
Iconography (Exterior)
Except in the headboard, the upper edge is decorated with alternating cobras and feathers, and a block frieze (Figure 170).
The vignettes are bounded within two black longitudinal bands and columns of inscriptions. These inscriptions are flanked by block-friezes on both sides.
Headboard
The headboard is composed of a single panel decorated with the Vignette 1, showing a sketched scene briefly outlined in red consisting in a large tjet-sign adorned with two poppies and flanked by two standing goddesses, who take care of the tjet (Figure 171). Each one grasps the totem of the West and lettuce vases stand at their feet.
Left Side
The left side displays 12 small vignettes (Figure 170). No formal division between the upper section and the lower section is apparent.8 All scenes face the headboard: they are swiftly sketched in red and finished off with dark paint. Despite that the figures are expressive, and the result is surprisingly good.9
The Vignette 2 shows a vulture and a cobra resting on a pile formed by a reed mat, a nebu-sign and shetyt-shrines (Figure 172). A tall sekhem-sceptre heads the composition.
The Vignette 3 presents a snake-headed mummiform god squatted on a reed mat and a geometrical frieze (Figure 172). The serpent bears a curled beard, and the sign of the West stands on his lap. A coiled cobra completes the scene.
The Vignette 4 is illustrated with a feather-headed mummiform god squatted on a reed mat and a nebu-sign (Figure 172). The remaining space is filled-in with the West-totem, the vulture goddess and the shetyt-shrine.
The Vignette 5 presents a jackal standing on a reed mat (Figure 172). It is adorned with red braces crossed over its neck. Behind the jackal figure three nefer-signs, the udjat-eye and the neb-basket, composing the expression, “Lord of beauty and soundness”.
The Vignette 6 shows a djed-pillar flanked on both sides by West-totems (Figure 173).
The Vignette 7 is illustrated with a mummiform god squatted on a reed mat and a heb-bowl (Figure 173). He wears a curled beard. A vulture goddess is depicted next to him.
The Vignette 8 displays the ba-bird resting on a reed mat (Figure 173). He wears long red streamers and a curled beard. On his feet figure a feather and an ointment vessel. The udjat-eye protects him.
The Vignette 9 shows a baboon-headed mummiform god squatted on a reed mat and three shetyt-shrines (Figure 173). The ankh-sign figures on his lap, together with a coiled cobra holding the uas-staff.
The Vignette 10 shows a jackal-headed mummiform god squatted on a reed mat and the nebu-sign (Figure 174). Above, figures the vulture holding the ankh-sign.
The Vignette 11 is illustrated with the ba-bird with curled beard resting on a reed mat (Figure 174). On his feet figure a feather and a basket with food. Behind him figure three nefer-signs, the udjat-eye and the neb-basket, composing the expression, “Lord of beauty and soundness”.
The Vignette 12 shows a snake-headed mummiform god squatted on a reed mat and a nebu-sign (Figure 174). The West-totem figures on his lap, together with a libation vessel.
The Vignette 13 presents the sacred sycamore tree with leaves (green) and fruits (red) (Figure 174). Around the tree, loose signs of undetermined nature can be seen.
Right Side
The right side displays 10 small vignettes, following the same layout observed on the opposite side.
The Vignette 14 shows Ptah-Sokar in avian form with a cobra wearing the atef-crown at its feet (Figure 175). A winged goddess stands behind wearing a modius and a red dress. A vulture rests over her arm.
The Vignette 15 presents a mummiform god squatted on a reed mat and the nebu-sign (Figure 175). He wears an unguent cone and a lotus blossom on his head. The vignette is completed with the West-totem, the vulture and the shetyt-shrine.
The Vignette 16 is illustrated with a snake-headed mummiform god standing before an offering table (Figure 175). The god wears a feather on his head and a curled beard. The table is provided with an ointment vessel, food and lotus flowers. The table is flanked by lettuce vases.
The Vignette 17 shows the sacred scarab holding up the solar disk, rising from a reed mat and a neb-basket (Figure 176). It is flanked by food baskets and shetyt-shrines surmounted by black disks.
The Vignette 18 features a mummiform god squatted on a reed mat and a heb-bowl (Figure 176). He wears a curled beard. The scene is completed with a shetyt-shrine and hieroglyphs.
The Vignette 19 depicts a mummiform god squatted on a reed mat and a nebu-sign (Figure 177). He wears a curled beard, and an unguent cone and a lotus bud on his head. A vulture goddess is depicted next to him, together with a shetyt-shrine, a lettuce-vase and a food basket.
The Vignette 20 is illustrated with a baboon-headed mummiform god squatted on a reed mat and a nebu-sign (Figure 177). A vulture goddess is depicted next to him, as well as a shetyt-shrine, a lettuce-vase and a food basket.
The Vignette 21 displays a mummiform god squatted on a reed mat and two shetyt-shrines (Figure 178). He wears a curled beard. The totem of the West, a food basket and the shetyt-shrine are featured next to him.
The Vignette 22 shows a snake-headed mummiform god squatted on a reed mat and the nebu-sign (Figure 178). The totem of the West figures on his lap. A vulture goddess is depicted next to him, together with a shetyt-shrine, and a lettuce-vase.
The Vignette 23 shows the ba-bird resting on a reed-mat with a feather at his feet (Figure 178). The avian form of the deceased wears a solar disk on his head and shows a curled beard. He is protected by a winged cobra rising from a shetyt-shrine.
Footboard
Undecorated (Figure 179).
Iconography (Interior)
The interior of the box is profusely decorated, with the motifs depicted against a reddish background (Figure 180).
Headboard
The ba-bird is featured in full frontal view with outstretched wings (Figure 181). The face is depicted with a goatee. The figure is so sketchy that not even the legs are depicted. Large hieroglyphs referring to the going forth to the day are displayed below his wings.
Sides
The sides are arranged in three registers (centrifugally oriented), each one of them displaying standing mummiform gods wearing red mummy braces. The registers are bounded by a blue band and a block-frieze. The decoration of the sides is symmetrical (Figures 182–183).
In the first register, there is a jackal-headed god, a falcon-headed god, and a snake-headed deity. They wear long wigs.10
In the second register, there is a feather-headed god, a flame-headed deity and a fully human-shaped god. The later wears a curled beard.11
In the third register, there are only two gods: a feather-headed god and a jackal-headed deity.
Floorboard
The floorboard is sprinkled with stars featured against a reddish background. It displays three main registers divided by large pet-signs painted in blue, or by large block-friezes.
The first register is the smallest, showing the solar barque navigating the sky (Figure 184). On the barque, the solar disk is featured over the sign of the horizon, which shows nine rows suggesting rays of sunlight. Inside the disk, there are vestiges of blue paint resembling a scarab. The solar disk is flanked by knifes. The prow carries a long net typically seen in the solar barque. Below the stern, a small blue fish leaps out of the water.
The second register shows the imposing depiction of a standing goddess (Figure 185). She is the personification of the Theban necropolis, as suggested by the falcon who rests over her head. She is yellow-skinned and opens her arms to cradle the mummy within.
She wears a beautiful vulture-headdress painted in yellow and blue as if crafted in gold and lapis lazuli.12 The headdress is capped by a crown of iaret-cobras. The long blue hair is tied back at the back of the head with red streamers. The face is not entirely perceptible since this area was affected by a severe longitudinal crack.
The goddess wears a large collar with several bands painted in green, red and blue. She is clad in a white dress, tied up with a long blue belt. Her feet, with each toe perfectly individualized, rest over a thin line (blue).
The goddess is flanked on both sides by loosely placed compositions. On the proper left side of the floorboard, figures a large vulture resting on a reed mat and a heb-bowl. It holds the was-sceptre and the shen-ring. Above, figures the monogram of Isis, and below large hieroglyphs mention “the foremost, who goes forth from the duat”. Below, mummiform gods are squatted over nebu-signs (snake-headed and feather-headed gods). These figures rest over a starry pet-sign. Below, a falcon rests on the feet of the goddess grasping in its claws a long, twisted serpent with a feather on its head.
The proper right side is headed by an uninscribed text band. Then follows a sacred cobra wearing the atef-crown and holding the was-sceptre and the shen-ring. It rests on a reed mat and a heb-basket. Below, figures a headless mummiform god with a twisted serpent over the torso, forming what can be perceived as his “head”. He is squatted over a nebu-sign and holds the nekhakha-sceptre. Hieroglyphs suggest the reading “the foremost of the West”. Below, other mummiform gods are squatted over nebu-signs (one is fully human, while the other is feather-headed). These figures rest over a starry pet-sign, followed by the sacred falcon grasping the shen-ring and a feather with its claws and holding the nekhakha-sceptre.
The whole composition is ended with a symmetrical scene featuring two jackals centrifugally displayed wearing large braces and the nekhakha-sceptre. They stand on a transversal block-frieze.
The third register shows two mummiform falcon-headed gods standing alongside a lotus-totem equipped with two tall feathers (Figure 186). In the intervening spaces, several hieroglyphs can be seen: above the lotus totem figures the water-sign, columns of hieroglyphs with the signs djed, was and ankh flank the standing deities. These gods stand over two monochromatic bands (yellow and black).
Footboard
It is uniformly painted in red.
Inscriptions
Columns of inscriptions bound the vignettes displayed on the sides (Figure 188). The calligraphy is sketchy. The signs were outlined in red and finished off with black paint. Each column of text is bounded by block friezes flanked by black lines.
Most of the inscriptions are unclear, particularly in the writing of the names of the Sons of Horus.
Left Side
Inscription 1 (Figure 189)
I҆mꜣḫy ḫr (?)
The venerable one before (?)
Inscription 2 (Figure 189)
| (col. 1) |
I҆nk ꜣst wrt mwt-nṯr i҆rt Rꜥ |
| (col. 2) |
i҆mꜣḫy ḫr Wsi҆r (?) ḫnty |
| (col. 1) |
I am Isis, the great one, divine mother, the Eye of Re. |
| (col. 2) |
The venerable one before Osiris(?), the foremost. |
Inscription 3 (Figure 189)
I҆nk ꜣst wrt mwt-nṯr i҆rt (Rꜥ)
I am Isis, the great one, divine mother, the Eye (of Re).
Inscription 4 (Figure 189)
i҆mꜣḫy ḫr Wsi҆r (?)
The venerable one before Osiris (?)
Inscription 5 (Figure 189)
ḏd mdw i҆n (?)
Words to be spoken by (?)13
Inscription 6 (Figure 189)
I҆nk ꜣst wrt mwt-nṯr i҆rt (Rꜥ)
I am Isis, the great one, divine mother, the Eye (of Re).
Inscription 7 (Figure 189)
i҆mꜣḫy ḫr (?)
The venerable one before (?)
Inscription 8 (Figure 189)
I҆nk ꜣst wrt mwt-nṯr
I am Isis, the great one, divine mother.
Inscription 9 (Figure 189)
(col. 1) ḏd mdw i҆n (?) mwt-nṯr (col. 2) ḏd mdw i҆n (?)
(col. 1) Words to be spoken by (?) the divine mother. (col. 2) Words to be spoken by (?)
Inscription 10 (Figure 189)
(col. 1) I҆nk ꜣst wrt mwt-nṯr (col. 2) ḏd mdw i҆n (?)
(col. 1) I am Isis, the great one, divine mother. (col. 2) Words to be spoken by (?)
Inscription 11 (Figure 189)
I҆nk ꜣst wrt mwt-nṯr
I am Isis, the great one, divine mother.
Right Side
Inscription 12 (Figure 190)
I҆nk ꜣst wrt mwt-nṯr i҆rt Rꜥ ḥnwt
I am Isis, the great one, divine mother, the Eye of Re, the mistress.
Inscription 13 (Figure 190)
ḏd mdw i҆n ḥpy ḥkꜣ ḏt
Words to be spoken by Hapy, sovereign of eternity.
Inscription 14 (Figure 190)
I҆nk ꜣst wrt mwt-nṯr i҆rt (Rꜥ)
I am Isis, the great one, divine mother, the Eye (of Re).
Inscription 15 (Figure 190)
I҆mꜣḫy ḫr (?)
The venerable one before (?)
Inscription 16 (Figure 190)
ḏd mdw i҆n ḳbḥ/snwf (?) n mwt-nṯr
Words to be spoken by Qebehsenuef (?) to the (?) divine mother.
Inscription 17 (Figure 190)
I҆mꜣḫy ḫr (?)
The venerable one before (?)
Inscription 18 (Figure 190)
ḏd mdw i҆n ḳbḥ/snwf (?) n mwt-nṯr
Words to be spoken by Qebehsenuef (?) to the (?) divine mother.
Inscription 19 (Figure 190)
I҆nk ꜣst wrt mwt-nṯr i҆rt Rꜥ ḥnwt
I am Isis, the great one, divine mother, the Eye of Re, the mistress.
Inscription 20 (Figure 190)
ḏd mdw i҆n I҆msty
Words to be spoken by Imsety.
Inscription 21 (Figure 190)
I҆nk ꜣst wrt mwt-nṯr i҆rt (Rꜥ)
I am Isis, the great one, divine mother, the Eye (of Re).
Inscription 22 (Figure 190)
I҆mꜣḫy ḫr (?)
The venerable one before (?)
Inscription 23 (Figure 190)
I҆nk (…)
I am (…).
Figures
Figure 172
Anonymous box. Left side. Vignettes 1–4
Figure 173
Anonymous box. Left side. Vignettes 5–8
Figure 174
Anonymous box. Left side. Vignettes 9–12
Figure 175
Anonymous box. Right side. Vignettes 13–15
Figure 176
Anonymous box. Right side. Vignettes 16–17
Figure 177
Anonymous box. Right side. Vignettes 18–19
Figure 178
Anonymous box. Right side. Vignettes 20–22
Figure 184
Anonymous box. Interior. Floorboard. First register
Figure 185
Anonymous box. Interior. Floorboard. Second register
Figure 186
Anonymous box. Interior. Floorboard. Third register
Figure 189
Anonymous box (left side). Inscriptions 1–10
Figure 190
Anonymous box (right side). Inscriptions 11–23
14 Mummy Board (Figures 191–194)
Inventory number: 3911 (AE 119)
Length: 163 cm.
Wood, paste, paint and varnish.
The reverse side is undecorated.
The fists are carved in wood and attached to the lid.
Despite the thinness of the object, it is very well preserved.
Iconography
Headboard
The face is painted yellow, with the thick cosmetic lines outlined in light blue (Figure 192). The eyelids are suggested with a small red line. The iris is black, painted over a white background. The nose is small and roughly carved, the nostrils are suggested with red outline. The lips are outlined in red. The face is inexpressive and summarily carved.
The ears were simply outlined in red and not moulded in wood. Nevertheless, the anatomical details of the ears were carefully rendered, including pierced earlobes.
The divine wig shows a checkered pattern composed of interspersed longitudinal rectangles featured against a yellow background.
Upper Section
The fists are painted yellow, crossed over the chest (Figure 192) and the fingers are outlined in red. Five floral bands are displayed between the fists.
The forearms are completely hidden under the broad collar. Only a small part of the elbows is revealed, showing Osirian bracelets and a lotus flower, as well as a small part of the arms, decorated with red lines suggesting a pleated festive garment.
The imposing large collar has an elliptical shape, displaying seven floral bands featuring two distinct patterns: lotus leaves (1st, 3rd, 5th, 7th) and a checkered pattern (2nd, 4th, 6th). The clasps of the collar are not featured.
Between the lappets of the wig, a short collar displays eight bands showing petals like those depicted between the fists.
The chest displays a large, winged scarab holding up the solar disk (green) and grasping the shen-ring with the hind legs. The sun is flanked by iaret-cobras and udjat-eyes. This scene is featured against a yellow background, suggesting that the sun god is rising from the bare chest of the deceased.
Central Section
This composition is exceptionally long extending itself towards the footend of the object (Figure 193–194).14 It is composed of ten registers presenting an alternate sequence of registers showing the sacred scarab flanked by symmetrical blocks (1st, 3rd, 5th, 7th, 9th) or a winged deity (2nd, 4th, 6th, 8th, 10th).
The first register presents a symmetrical composition with a sacred scarab at the centre. The scarab holds up the solar disk (green) showing the shen-ring between the hind legs. The scarab is flanked by large tjet-signs pending from cobras encircling the sun-disk (Figure 193).
This nuclear composition is flanked by centrifugal blocks featuring Osiris (red-skinned): he is squatted on a mat, in mummiform guise, wearing the hedjet-crown (green) adorned with long red streamers, and grasping the royal sceptres, heka and nekhakha. The register is completed with a centripetal block featuring a winged udjat-eye with a cobra wearing an ankh-sign pending from its neck.
The second register displays a squatted winged goddess (green-skinned) outstretching her wings towards both sides of the panel. She wears a modius, and a red headband. The goddess is clad in a tight dark dress. A frieze of geometrical motifs is displayed along the wings of the goddess.
The third register displays a sacred scarab flanked by squatted effigies of Osiris (not holding the royal sceptres) and winged udjat-eyes.
The fourth register displays a squatted winged goddess (green-skinned) outstretching her wings towards both sides of the panel. A frieze of geometrical motifs is displayed along the wings of the goddess.
The fifth register displays a sacred scarab flanked by centripetal blocks showing a ba-bird wearing the sun disk and holding a feather with his legs. The avian form of the deceased wears long red streamers and a menat-counterpoise pending from his back. The scene is completed with several hieroglyphs: an udjat-eye on a heb-bowl, the nefer-sign and a star (Figure 194).
The sixth register displays a squatted winged goddess (green-skinned) with a frieze of geometrical motifs displayed along her wings.
The seventh register displays a sacred scarab flanked by centrifugal blocks showing a mummiform god with a sun disk on his head and grasping a feather. He is squatted on a mat with a large bunch of lotus and ointment vessels at his feet.
The eighth register displays a squatted winged goddess (green-skinned) with a frieze of geometrical motifs displayed along her wings.
The ninth register displays a sacred scarab flanked by centripetal blocks showing a winged udjat-eye with a pending cobra.
The tenth register displays a winged tjet-sign with a frieze of geometrical motifs displayed along its wings.
Figures
Figure 192
Anonymous mummy-cover. Headboard and upper section
Figure 193
Anonymous mummy-cover. Central section (1st–4th registers)
Figure 194
Anonymous mummy-cover. Central section (5th–10th registers)
Table 4
Burial assemblages of the Lot XVI: Table of concordance
|
Catalogue |
Object |
Names |
Titles |
Inv. Number |
A.Number |
|---|---|---|---|---|---|
|
Number |
|||||
|
1 |
Inner lid |
Nesipanebimakh Maatemsaef |
3909 |
A.12 |
|
|
2 |
Inner box |
Anonymous |
3909 |
A.12 |
|
|
3 |
Mummy board |
Nesipanebimakh |
3909 |
A.12 |
|
|
4 |
Inner lid |
Taiuheret |
3912 |
A.19 |
|
|
5 |
Inner box |
Anonymous |
3912 |
A.19 |
|
|
6 |
Mummy board |
Anonymous |
3912 |
A.19 |
|
|
7 |
Outer lid |
Anonymous |
3910 |
A.33 |
|
|
8 |
Outer box |
Anonymous |
3910 |
A.33 |
|
|
9 |
Inner lid |
Ankhefenkhonsu |
3910 |
A.33 |
|
|
10 |
Inner box |
Ankhefenkhonsu |
3910 |
A.33 |
|
|
11 |
Mummy board |
Ankhefenkhonsu |
3910 |
A.33 |
|
|
12 |
Inner lid |
Anonymous |
3911 |
A.41 |
|
|
13 |
Inner box |
Anonymous |
3911 |
A.41 |
|
|
14 |
Mummy board |
Anonymous |
3911 |
A.41 |
The use of red to paint the skin is typically a Ramesside feature: it can be detected in “proto-yellow” coffins and in a few “yellow” coffins dating from the Ramesside period: Mummy-cover of Panebmontu (Louvre Museum, Inv. nº 13046) in Seipel 1989, nº 472–473; Mummy-cover of Hori (Kestner Museum, Inv. nº 1977.1) Loeben, Sousa forthcoming.
It is relatively uncommon to see the bunches of flowers without an additional headband. Nevertheless, when it occurs, the association with a striped wig is prevalent. See, for example: Anonymous outer coffin (A.131, Musées royaux d’Art et d’Histoire in Brussels, Inv. nº E 5879) in Delvaux, Therasse 2016, 103.
The decoration layer has collapsed in this area of the lid.
Heart amulets are frequently featured on the chests of coffins dating from the second half of the 21st Dynasty: Anonymous inner coffin (A.74, Historisches Museum in Bern, Inv. nº AE10) in Küffer, Renfer 1997; Anonymous coffin (A.4, Sociedade de Geografia de Lisboa, Inv. nº AC-514) in Sousa 2017, Pl. 5. Inner coffin and mummy-cover of Padiamun (A.114, Egyptian Museum in Cairo, JE 29666) in Hornung, Bryan 2002, 159.
The use of pastiglia decreases as we approach the bottom of the composition: in the first register the scarab and the disk are moulded in pastiglia, in the second register only the scarab is moulded, and in the third register neither one is moulded.
The repertoire of liminal elements is the usual one: vultures, shedyt-shrines and mummiform gods.
Normally, the side inscriptions run down the edges from the elbows to the footboard. These are exceptionally short text bands.
This scheme is often detected in coffins dating from the late 21st Dynasty: Anonymous coffin (A.4, Sociedade de Geografia de Lisboa, AC-514) in Sousa 2017, Pls. 14–15. The sketchy style of the vignettes progresses even more in the early 22nd Dynasty, eventually originating boxes with nearly any figurative decoration: Anonymous coffin (Museum of Fine Arts in Budapest, Inv. nº 51.2094/2) in Liptay 2011, Pl. 5; Anonymous coffin (Wayne County Historical Museum, 06.03.3) in Sampsell 2020, 192–193.
This is possibly blue pigment that had degraded over time, showing now a dark tone.
The feather-hieroglyph (Gardiner H.6) is placed above the scene.
The feather-hieroglyph (Gardiner H.6) is placed above the scene.
The vulture headdress is not common in this context. For parallels see coffins in the Museo Egizio in Turin (Cat. 101106-b/101104-b) (Niwiński 2004, Pl. XI/Pl. VIII) and the coffin of Amenhotep (Rijksmuseum van Oudheden in Leiden, Inv. nº AMM 2-a, b) (Schneider, Raven, Harvey 1998, nº 201).
An awkward assemblage of signs gathers hieroglyphs that could be used to write down the names of Hapy, Imsety and Qebehsenuef.
This arrangement is typically associated with coffins dating from the late 21st Dynasty: Anonymous inner coffin and mummy-cover (A.15, Museo Egizio in Florence, Inv. nº 8524) in Zarli, Sousa 2018, 83/113.